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Theory

THE100A

Jazz theory and Improvisation

3 credits, 3 hours lecture/lab

A four-semester course covering jazz theory and improvisation techniques and styles based on the artistic practice of jazz masters, from the early twentieth century innovations of Louis Armstrong, to the contemporary artistry of Herbie Hancock, and beyond. Students gain a solid understanding of jazz theory and improvisation, from the fundamentals to chord/scale theory, soloing, reharmonization, and transcription and analysis. Theoretical concepts are illustrated with select recordings of leading jazz artists and applied to relevant exercises and repertoire in class. This course lays important groundwork critical in the development of individual style.


THE
100B

3 credits

A continuation of THE100A.

THE200A

3 credits

A continuation of THE100B.

THE200B

3 credits

A continuation of THE200A.

THE202

Polyrhythms and Odd Rhythm Groupings

Elective — 2 credits, 2 hours lecture / lab The nature and history of polyrhythms and odd rhythm groupings and their application to composition and improvisation. All instruments and voice. Prerequisites: MuS100A and tHE100A


THE
250

Traditional North Indian Rhythmic Concepts

Elective — 3 credits, 3 hours lecture / lab

An in-depth exploration of traditional rhythmic concepts from the North Indian system of classical music. Through the medium of vocal percussion syllables known bols, students are introduced to Indian rhythmic idioms such as tala (rhythmic cycles), layakari (rhythmic modulation), and tihai (thrice-repeated cadential phrases used to end a musical idea). Students learn traditional Indian rhythmic compositions drawn from the repertoire of classical North Indian percussion instruments such as tabla and pakhawaj. This class delves into the history and theory of North Indian rhythm as well as its influence on Jazz over the last 50 years. Emphasis is placed on pointing out the cross-cultural applications of Indian rhythmic concepts to any instrument and any style of music, enriching students’ compositional and improvisational skills.

THE251

Traditional South Indian Rhythmic Concepts

Elective — 3 credits, 3 hours lecture / lab

An in-depth exploration of traditional rhythmicco- ncepts from the South Indian system of classical music. Through the medium of vocal percussion syllables known as solkattu, students are intro- duced to Indian rhythmic idioms such as tala (rhythmic cycles), nadai (odd subdivisions of the beat), layakari (rhythmic modulation), and mora (thrice-repeated cadential phrases used to end a musical idea). Students learn traditional Indian rhythmic compositions drawn from the rep- ertoire of classical Indian percussion instruments such as tabla, mridangam, kanjira, ghatam, thavil, and morsing. Emphasis is placed on pointing out the cross-cultural applications of Indian rhythms to any instrument and any style of music, enriching students’ compositional and improvisational skills

 

THE300A

Advanced transcription and

Analysis of the Jazz Masters

Elective — 2 credits, 2 hours lecture/lab

A continuation of Jazz Theory and Improvisation focusing on transcription and analysis of more challenging works by the jazz masters.

THE300B

Elective — 2 credits

A continuation of THE300A.

 THE400A

Elective — 2 credits

A continuation of THE300B.

THE400B

Elective — 2 credits

A continuation of THE400A.

THE301A

Form and Analysis of Jazz Standards

2 credits, 2 hours lecture / lab

A course in an ensemble format focusing on form and analysis of jazz standards essential to the professional musician.

Prerequisite: concurrent enrollment in tHE200B or the equivalent

THE301B

Form and Analysis of Jazz Standards

2 credits, 2 hours lecture / lab

The second in a two-semester course series in an Ensemble format focusing on form and analysis of jazz standards essential to the professional musician.

Prerequisite: tHE301A

THE305

A Chromatic Approach to Jazz Harmony

Elective — 3 credits, 3 hours lecture

An introduction to the harmonic and melodic approaches David Liebman innovated and expanded in his seminal book “A Chromatic Approach to Jazz Harmony”. Beginning with John Coltrane and the second Miles Davis quintet who indepen- dently began developing an advanced jazz lan- guage of chromaticism in the 1960s, this course addresses the work of David Liebman, along with Michael Brecker, Chick Corea and others who later that decade moved it to a new level of sophisticated control of consonance and dissonance that remains the gold standard for controlled harmonic tension and release, most commonly known as ‘playing in and out of the changes’. During the past forty years, David Liebman has become widely recognized as the leading spokesperson and educational force in explaining and codifying what is considered the most advanced jazz language method to address modern harmony. Prerequisites: tHE200B or consent of instructor.

THE306

Discovering the “Hidden” Principles of Music

Elective — 2 credits, 2 hours lecture/lab

A course for all instrumentalists on “how and why to play” rather than “what to play” and how conscious application of a palette of musical tools may be used to express emotion. Exercises are designed to help students find their own voice.

 

Fall Registration
Registration for the JCMS fall quarter has ended. Please check back soon for the winter schedule.
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